Jidish
Jidish
Jidish
by
Alison Weiner
ii
ACKNOWLEDGEMENTS
I am profoundly grateful to my father, mother, sister, friends, professors, and fellow
musicians. They all had the kindness not to raise their eyebrows at my change of
livelihood and instead bestowed their support and encouragement. Thankful
acknowledgement is also offered to Paul Green for embracing this work and performing
it for others with his virtuosic talent, Dr. Stuart Glazer for walking alongside me as I
discovered my compositional voice, scholarship donors who enabled me to complete my
degrees debt-free, and Janice Cunningham, who keeps all FAU musicians glued together
with her effervescent smile.
iv
ABSTRACT
Author:
Alison Weiner
Title:
Institution:
Thesis advisor:
Degree:
Master of Arts
Year:
2010
Three original suites, composed during 2008-2009, are presented and discussed
with respect to form, style, and compositional techniques. The subjects are Suite No. 1
(clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double
bass and drums), and Suite No. 3: LChaim (two clarinets, flugelhorn, French horn,
bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of
klezmer, a Jewish music genre that, during its reemergence over the past thirty-five years,
has welcomed the influence of other musical styles. In keeping with the eclectic nature
of klezmer, each suite builds upon the previous one with regard to instrumentation, style
and technique, and embraces additional genres (jazz and tango). Brief reviews regarding
the history and musical characteristics (including modes, ornamentation and
improvisation, song types and instrumentation) for all the included genres are also
presented for the benefit of compositional context.
vi
FIGURES
Figure 1.1: G harmonic minor scale ....................................................................................6
Figure 1.2: D Ahava Rabboh mode......................................................................................6
Figure 1.3: C Mi Sheberach mode .......................................................................................6
Figure 1.4: D Adonoy Moloch mode ....................................................................................7
Figure 1.5: An example of krekhtsn.....................................................................................8
Figure 1.6: Freylekh 7:50 by Paul Babici ............................................................................8
Figure 1.7: C mi sheberach: scale - diatonic triads diatonic sevenths ............................12
Figure 1.8: Suite No. 1, mm. 1-10 ......................................................................................12
Figure 1.9: Suite No. 1, mm. 11-18 ....................................................................................13
Figure 1.10: Suite No. 1, mm. 19-28 ..................................................................................14
Figure 1.11: Suite No. 1, mm. 29-37 ..................................................................................15
Figure 1.12: Suite No. 1, mm. 38-47 ..................................................................................16
Figure 1.13: Suite No. 1, mm. 48-53 ..................................................................................17
Figure 1.14: Suite No. 1, mm. 54-61 ..................................................................................19
Figure 1.15: Suite No. 1, mm. 62-71 ..................................................................................20
Figure 1.16: Suite No. 1, mm. 72-79 ..................................................................................20
Figure 1.17: Suite No. 1, mm. 80-87 ..................................................................................21
Figure 1.18: Suite No. 1, mm. 88-98 ..................................................................................22
Figure 1.19: Suite No. 1, mm. 99-109 ................................................................................23
Figure 1.20: Suite No. 1, mm. 110-117 ..............................................................................24
vii
ix
INTRODUCTION
Three original suites, composed during 2008-2009, are presented and discussed
with respect to form, style, and compositional techniques. The subjects are Suite No. 1
(clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double
bass and drums), and Suite No. 3: LChaim (two clarinets, flugelhorn, French horn,
bandoneon, piano, violin, and cello).
Common to all three pieces is the inspiration of klezmer, a Jewish music genre
that has easily welcomed the influence of other musical styles throughout its history. In
keeping with the eclectic nature of klezmer, each suite builds upon the previous one with
regard to instrumentation, style and compositional technique by embracing additional
genres (jazz and tango). The three movements of Suite No. 1 revolve around one
klezmer mode. Suite No. 2 combines a continuation of klezmer exploration with
harmonic and improvisational characteristics of jazz. The inclusion of both composed
and improvisational conversation within klezmer and tango styles is the primary feature
of Suite No. 3. In addition, the compositional intention for these works is accessibility for
both listener and performer. Drawing from three different genres, a unique perspective is
offered on the mysteries, struggles and joys of life in a manner that is hopefully
melodically, harmonically and rhythmically engaging.
Brief reviews regarding the history and musical characteristics (including modes,
ornamentation and improvisation, song types and instrumentation) for all the included
1
genres are presented for the benefit of compositional context. Regarding compositional
analysis, Suite No. 1 is notated in the Roman numeral style. Suite No. 2 and Suite No. 3
are notated in popular/jazz style. Sections designated for improvisation use chord letter
symbols. The scores (and related figures) are presented in concert pitch.
CHAPTER I
SUITE NO. 1 (2008)
Klezmer Style: Definition, History, Characteristics
Every Jewish shtetl [town]had its own klezmorim and other entertainers who
would play for all the Jewish weddings. They would playat the wedding feast
for the father and mothers, grandfather and grandmother, guests and relatives
from both sides, and especially for the bride and the groom a bride and groom
taking the first precarious steps in their unclear lifeThe music stirred the public,
and especially the young couple, who were moved to reflect on the tenor of the
past and their long life ahead. The townspeople believed in an old saying: As the
klezmorim played, so it went in life. (Ivri 1963, 92-93)
Born of the desire, if not the need, to celebrate a variety of rites of passage,
klezmer music is steeped in centuries of Jewish tradition. Derived from the Hebrew word
for klezemer (musical instruments), klezmer is defined as vessels of song (Slobin
2002, 13) and has been used to describe a small ensemble or a professional folk musician.
With the revival of the music in the late 20th century, the word klezmer is now also
used to describe the genre of Jewish secular folk music as well. The phrase vessel of
song refers not only to a performing musician but also to the nature of the music itself.
Throughout its long history, klezmer has easily embraced influences of many other
traditions. As a result of its eclecticism, klezmer has been, and continues to be, a music
that resonates for people, religious and non-religious, of many cultures and faiths.
Klezmers appeal varies across generation, locale, and orientationKlezmer has
the power of animating bodies that all dance musics share cross the world, one of
the core reasons for its past and continued existence as a culturally valued
practiceJews, non-Jews, Americans, Canadian, Europeansmost patrons of
3
klezmer and many musicians listen and move to the melodies with a sense that
they are not just here and now, but somewhere else in time. There is a sensibility
around a notion of reflected cultural light coming to us from a shadowed world.
(Slobin 2002, 5-6)
The influences that contribute to the eclecticism of klezmer, those qualities that
emanate from author Mark Slobins suggested shadowed world, can be identified
throughout the recorded history of Jewish civilization. In biblical times, music in the
Jewish tradition was used extensively for religious and healing services as well as for
secular events (Strom 2002, 2). In 70 CE, the performance of instrumental music in the
sacred and secular realms was banned by the rabbis in order to mourn the destruction of
the Second Temple; exceptions were made for weddings and for musicians who earned
their keep by performing for Gentiles (Idelsohn 1929, 455). Vocal music continued, most
notably in the chanting in the synagogue by the chazzen (cantors). The melismatic nature
of the chants naturally inspired the permitted (and covert) instrumental music (Strom
2002, 3); this influence continues to the present day. Another significant influence on
klezmer music has been the intermingling of cultures throughout history. There are many
instances of extensive inter-ethnic sharing (Jews playing at non-Jewish events and viceversa) (Slobin 1984, 2). The wandering Jewish musical groups throughout Central and
Eastern Europe during the 15th century were greatly inspired by the diversity of cultures,
languages and traditions of the places through which they traveled. Self-taught but
highly versatile, these minstrels integrated these influences into an extensive repertory of
Jewish and Gentile music (Shiloah 1992, 19).
The richest interaction was between Jews and Romany, commonly known as
Gypsies. Whether it is a result of their shared outsider and itinerant status, or
their predilection for subtly hued Eastern-influenced melodies and the elegiac,
4
mournful tunes known as doinas, the connection between Jews and Gypsies was
strong for centuries. (Sapoznik 2006, 7)
During the 18th and 19th centuries, the klezmer ensembles and their repertory included the
folk influences of Central Europe, Eastern Europe, Moldavia, Ukraine, Russia, Greece
and the Balkans (Feldman 2007). With the significant emigration of Eastern European
Jewish people around the turn of the 20th century, klezmer music came to the United
States and continued to thrive as part of the relocated Yiddish culture. However, as the
new, assimilated Jewish-American generations distanced themselves from their European
roots, and as World War II brought the near-annihilation of the European Jewish world,
the music of the klezmorim faded (Slobin 2002,19). In the 1970s, descendants of the
European Jewish immigrants sought to discover their roots. Down from the attic came
the klezmer 78s, and a new movement was born (Slobin 2002, 20). During the past
thirty-five years, not only has the traditional music that came from Eastern Europe been
revisited but, like the cross-cultural sharing that occurred for thousands of years among
the Jewish people in all the places they have existed, klezmer music has been influenced
by present-day genres such as jazz, rock and roll, Latin, bluegrass, and hip-hop music.
The characteristics of klezmer music including its modes, ornamentation and
improvisation, song types and instrumentation derive from a variety of sacred and
secular sources (Jewish and non-Jewish). Three commonly used shteyger, or modes, are
taken from the Ashkenazic (East European) tradition, but their roots lie in the religious
practices of Middle Eastern cultures (Strom 2002, 123). The Jewish musicologist
Abraham Z. Idelsohn (1882-1938) identifies them as Ahava Rabboh, Mi Sheberach, and
Adonoy Moloch. Two of these modes (Ahava Rabboh and Mi Sheberach) are based on
5
the harmonic minor scale (figure 1.1). This scale, and the modes related to it, is defined
by a minor third interval (m3) that strongly suggests melancholy and solemnity.
Figure 1.1
The Avaha Rabboh mode (also known as freygish) is based on the fifth degree of the
harmonic minor scale. In the example below, D is the fifth scale degree of G harmonic
minor (figure 1.2).
Figure 1.2
The Mi Sheberach mode is based on the fourth degree of the harmonic minor scale. In
the example below, C is the fourth scale degree of G harmonic minor. The raised seventh
is often used as a leading tone for cadential use (figure 1.3).
Figure 1.3
C Mi Sheberach mode
The Adonoy Moloch mode is essentially a Mixolydian mode; in practice, the dominant
chord is major rather than minor, making the leading tone of this scale a major seventh
6
In addition to these Ashkenazic modes, the Western major and minor (natural, harmonic,
melodic) scales are used occasionally; the harmonic minor is most often used.
Seven other musical characteristics of klezmer were described by the Jewish
musicologist Arno Nadel; they are not necessarily all found at the same time in a song:
It is the improvisation and use of ornamentation that, in combination with the modes,
gives klezmer music its unique sound. Such improvisation and ornamentation is inspired
directly from centuries of cantorial singing. Embellishment techniques (performed by the
violinist or the clarinetist) include the glitshn (glissando), the krekhtsn (moaning, achy
long notes that gave klezmer music its distinctive sound) (figure 1.5), the kneytshn
(short notes with the achiness of the krekhtsn, but swallowed sharply as if squeezing the
tip of the sound), the tshoks (notes just slightly off-pitch), and the flageolets (harmonics)
(Strom 2002, 120 121).
Figure 1.5
Not surprisingly, as a result of its long history and variety of influences, the
klezmer repertoire includes a variety of song types, many of which are dances. Freylekh
7:50 (figure 1.6) is an example of a freylekh. Klezmer musician and author Yale Strom
learned this tune from the Rom klezmer Paul Babici. The apocryphal story behind the
title is that the 7:50 train from Odessa was the common transportation for Jews traveling
to Kiev. On this train, klezmorim were known to busk, moving from car to car. This was
the most frequently requested tune (Strom 2002, 349-350).
Figure 1.6
The bulgar is a lively circle dance in 8/8 meter with an unusual beat subdivision (123 123
12). A sher is similar to a square dance, played in a moderate 2/4 meter. The khosidl
(part of the Hasidic tradition, from the East Galicia and Bukovina regions) is danced in a
line or a circle, played in 2/4 or 4/4 meter slow enough to allow for musical and dance
improvisation. The hora is a circle dance in 3/8 meter. The Romanian hora is done
slowly; the Israeli hora is done in a fast tempo. Sometimes, especially at weddings, a
dance would be introduced by a lament called a doina. It is a solo improvisation, usually
performed on violin or clarinet, evocative of a cantorial song. Musician, producer and
author Henry Sapoznik (1953- ) recalls his childhood memories of this song type:
But most of all I enjoyed when Uncle Beresh would play a doina. For this he was
famous. The people would all become still when the band would play a low
single drone note. Suddenly, my uncle would step into the middle of the floor
with his fiddle under his chin and start to play. Years later, when I got lots of
experience playing with jazz guys, I learned that improvisation was an important
thing, but as a kid, who knew? It was beautiful. His fingers flew over the
fingerboard, making the instrument sing. When hed get to a place where the
chord would change, hed play a few special notes and wed know where to
change. And when he stopped, oh, would people be crying, crying. (2006, xvxvi)
Just as its repertoire has been subject to a variety of influences, so has the
instrumentation that has accompanied klezmer music. From the 16th until the 19th
century, klezmer ensembles generally included violin, cello, bass, tsimbl (hammered
dulcimer), mandolin, and percussion instruments such as the Turkish drum, cymbals and
woodblock (Strom 2002, 113). These instruments were central to the ensembles because
they were easy to carry and were locally crafted and repaired (Saponik 2006, 8). The
violin, in particular, was most favored because its timbre is quite sympathetic with the
human voice. Residents of the Polish town Tomaszw Lubelski recalled:
9
When the wedding guests had gathered around the rebe, in walked Shulik, who
immediately stretched his right hand out to the rebe while the left one held the
violin. The rebe shook Shuliks hand and said, Sing to our God with the violin.
With his beating oblong fingers, which so deftly and tremulously dashed back and
forth upon the fiddle, Shulik proceeded from the depths of his soul to touch upon
the precious strings of his heart. His music caused a river of tears to flow from
the women, who sat still and quiet in the room. Shuliks fiddle was able to take
you from the greatest feeling of sadness one moment and throw you into a joyous
mood the next moment. In such an ecstatic atmosphere one could not help but
allow ones feet to dance. (Wajsberg 1969, 333-334)
Woodwind and brass instruments found their way into klezmer ensembles beginning in
the mid-19th century. One significant reason for this change was that being able to play
an instrument in the military band was a way to avoid combat. There was no need for
string players in the Russian military band, so many of them learned to play horn or
woodwinds. Upon discharge, these musicians were better prepared to perform for the
upper classes and offer private lessons to the children of those classes. They also
introduced these instruments, particularly the clarinet, flute, trumpet, trombone, and tuba
to the klezmer groups (Strom 2002, 99). As klezmer musicians immigrated to the United
States at the turn of the 20th century and assimilated into American culture, much of the
repertoire that accompanied European Jewish rituals was abandoned, and the
instrumentation for klezmer dance and listening music was adapted to American bands of
the time (Slobin 2002, 14). The violin, which for so long served as the centerpiece of
klezmer music, faded into the background as the clarinet, saxophone, trumpet and piano
stepped forward in versatile ensembles that offered a repertoire of popular and jazz tunes
as well as klezmer songs (Strom 2002, 169).
Since its revival in the 1970s, klezmer music is now a generic term for any sort of
Jewish music. Trying to explain and define what klezmer is to someone who never
10
heard of it is as difficult as explaining and defining what is jazz today. Just as jazz is
rooted in southern blues, spirituals, and African rhythms, so is klezmer rooted in the
prayer modalities of the Jews of ancient Israel (Strom 2002, 253). This phenomenon is
due to in large part to the movement and dispersion of a people from their homeland to a
strange new world, struggling to retain their cultural identity by continuing to practice
their secular and sacred traditions, only to have those traditions transformed by their new
surroundings. Musician and researcher Yale Strom offers this reflection:
Today one can go to a klezmer concert and hear Zev Feldman perform traditional
nineteenth-century Bessarabian Jewish music on the tsimbl and the next day
return to the same venue and hear John Zorn perform his own brand of klezmerjazz on the tenor saxophoneTheir styles are completely different from each
other, but still take the listener on a spiritual journey rooted in the Jewish
experience. Traditionalists will say that what Zorn plays has no connection to the
klezmer Feldman plays. If this statement is true, then what Feldman plays bears
little to no relationship to the music played by the itinerant Jewish musician who
lived in the Alsace-Lorraine region in the fifteenth century. And musicians who
are playing post-klezmer music would say that Zorns new Jewish music has
nothing to do with klezmer. Of course, all these statements are false. Both
Feldman and Zorn are Ashkenazic Jews and their antecedents grew up in a
European Ashkenazic culture where Yiddish was the mama-loshn. Thus their
music reflects not only its Semitic Middle Eastern rootsbut also its
development in Central and Eastern Europe over nearly one thousand years.
(2002, 253-254)
Giora Feidman, the renowned Israeli clarinetist, promotes a positive, inclusive
perspective regarding this evolution: People say klezmer music is Jewish music. Its
not. Klezmer is the vessel, music is the language Music is sharing. Music never is the
question. Its an answer. Take it. You need to take this and also receive it, of course.
This is the meaning of klezmer (Donen 1997). Klezmer music, with its long eclectic
history and influences, continues to evolve within the present-day world music culture as
a celebratory, hopeful and relevant genre.
11
Compositional Analysis
Suite No. 1 is a three-movement work written for Bb clarinet and piano.
Melodically and harmonically, it is based on the C mi sheberach mode (figure 1.7), set
within a G minor key signature.
Figure 1.7
The first movement is set in a moderate tempo with a 4/4 time signature
throughout the ABA (aa'bb'a") form. The first A section (mm. 1-18) offers a theme in
the C mi sheberach mode (based on the fourth scale tone of G minor) that evokes an
immediate vagueness of tonality and thus a sense of mystery. The solo piano presents the
theme (a) consisting of a motive and variations (mm. 1-10). The initial two-measure
motive based on the mi sherberach tonic (mm. 1-2) is varied (mm. 3-4), repeated over the
iv7 (mm. 5-6), and varied again based on the iv7 while coming to a pause over the II of
the mode [or the dominant of the G minor (V/v)], deceptively suggesting resolution to G
minor (mm. 7-10) (figure 1.8).
Next page: Figure 1.8
12
The theme (a') is repeated in variation, doubled by the clarinet in unison with the piano
(mm. 11-18). The two-measure motive and variation are repeated (mm. 11-14). A
variation of the motive based on the iv7 then resolves to the III7, followed by a pickup by
the clarinet, based on the V/v, that leads to the B theme and resolution to G minor (mm.
15-18) (figure 1.9).
Next page: Figure 1.9
13
The influence of the mi sherberach mode continues in the B section (mm. 19-37) as a
new theme is set over the i7 of the established G minor key (the sharp-fourth scale tone of
the mi sherberach providing encouragement for its melodic and harmonic use in G
minor). The new theme (b) is presented in call-and-response fashion (mm. 19-28). The
clarinet plays a new motive over a piano ostinato based on i7 to iv43 (mm. 19-22). The
clarinet and piano play a harmonically-descending motive response in rhythmic unison
(mm. 23-25), followed by alternating call-and-response measures over iv7#4 - V7#9 (mm.
26-27), before returning in unison to the original dominant (m. 28) (figure 1.10).
Next page: Figure 1.10
14
The second theme is repeated (b') in variation (mm. 29-35). After a repeat of the first
motive (mm. 19-22), the piano sets up a harmonic run (m. 33) before the clarinet joins in
for a unison run over diminished harmony (mm. 34-35). This leads to a half cadence as
the clarinet completes the run over the VI7 while the piano resolves to the dominant (mm.
36-37) (figure 1.11).
Next page: Figure 1.11
15
The original theme (a") is revisited (mm. 38-47). The clarinet offers motive variation for
six measures (mm. 38-43), set over the dominant and pedal dominant, before the piano
enters with call-and-response over iv ii7 (mm. 44-47) (figure 1.12).
Next page: Figure 1.12
16
At the coda (mm. 48-53), the clarinet and piano engage in sixteenth-note call-andresponse over the i7 (mm. 48-49). The clarinet plays run over the harmonically
descending vii7 VI (mm. 50-51), leading to an ambiguous V i7 V/i7 final cadence
by the piano (mm. 52-53) (figure 1.13).
Next page: Figure 1.13
17
of the form begins on the diminished chords of the G harmonic minor scale. In the first
A section (mm. 54-71), the solo piano introduces the theme (a) (mm. 54-61), a phrase
harmonically ascending the G harmonic minor scale, beginning over the leading tone
vii7, in a dominant/secondary dominant-tonicized manner, concluding on the i7, though
the D in the melody and unfolding of the i7 chord creates an ambiguous dominant feel
(figure 1.14).
Figure 1.14
The clarinet joins in offering an embellished replay of the theme (a'), with some response
and harmonic unison by the piano (mm. 62-71). The phrase moves past the ambiguous i7
19
The contrasting theme (b) is played by the piano, with clarinet response, over an eighthnote ostinato, beginning on the ii7 and again advancing up the G harmonic minor scale
in a dominant/secondary dominant-tonicized manner, climaxing with a fermata on the i7
in a 9/8 measure before concluding over the dominant (mm. 72-79) (figure 1.16).
Next page: Figure 1.16
20
The theme (b') is then varied. As the piano substitutes chordal rhythmic accompaniment
for the ostinato, the clarinet plays the theme, offering a three-measure sixteenth-note
embellishment before concluding over the dominant (mm. 80-87) (figure 1.17).
Next page: Figure 1.17
21
The piano and clarinet come together to play the original theme (a") in one-measure calland-response, including the ambiguous tonic chord from the original theme, then ending
with a repeat of the last two measures resolved over III+ ii7 i7 (mm. 88-98) (figure
1.18).
Next page: Figure 1.18
22
After the mysterious, contemplative first movement and the mournful second
movement comes the lively dance of the final movement, set in 4/4 meter within an
AABAA form. The transition between movements begins with the clarinet playing a
slow, rubato melody over VI iv V i7 VI V i (mm. 99-104). The freylekh is
introduced with a five-measure tonic establishment of the dance tempo by the piano (mm.
105-109) (figure 1.19).
Next page: Figure 1.19
23
The first theme (A) is played by the clarinet over a primarily dominant-tonic progression
(mm. 110-117) (figure 1.20).
Next page: Figure 1.20
The clarinet repeats the theme (A) an octave higher (mm. 118-125) (figure 1.21).
Next page: Figure 1.21
25
The contrasting theme (B) begins with the clarinet offering a one-measure fortissimo
motive, followed by a clarinet pianissimo response harmonized by piano (mm. 126-127).
At measure 128, repeat of the measure 126 fortissimo motive recalls measures 38-43
(first movement motive variations), ending with a two-measure build-up over the
dominant (mm. 129-136) (figure 1.22).
Next page: Figure 1.22
26
The clarinet returns to the first theme (A) (mm. 137-144) (figure 1.23).
Next page: Figure 1.23
27
The theme is embellished by the clarinet an octave higher, concluding with the ii7 V
i cadence repeated twice (mm. 145-156) (figure 1.24)
Next page: Figure 1.24
28
29
CHAPTER II
SUITE NO. 2: FOR PAUL, A MASTER OF MUSIC (2009)
Klezmer and jazz have intermingled in the United States during the past century.
During the early 20th century, immigrant Jewish musicians were inspired by blues, swing
and big band music. The combination of jazz and klezmer resulted in a few novelty
popular hits such as Bei Mir Bist Du Schn by the Yiddish composer Shalom Secunda in
1937 (Sapoznik 2006, 128-133). Jazz was one of a variety of genres that inspired The
Klezmatics and other new klezmer performing groups beginning in the mid-1970s. Don
Byron, a renowned conservatory-trained jazz clarinetist and saxophonist, was an original
member of the Boston-based Klezmer Conservatory Band in 1980, a part of his life-long
exploration of widely divergent traditions while continually striving for what he calls a
sound above genre (2010).
Jazz Style: Definition, History, Characteristics
Jazz (like the signifier classical) refers to an extended family of genres and
styles, with all members sharing at least some traits in common yet none capable of
representing the whole (Tucker 2009). Jazz and klezmer have a kinship: their vibrancy
is due to their eclecticism. Like klezmer, jazz is an evolving body of music that
continually transcends geographical boundaries and culturally imposed divisions. As a
result, throughout its history it has passionately moved people of all walks of life.
30
No matter how it is defined, there was absolutely no music like jazz before the
20th century. Perhaps it was because there was no nation as extraordinarily diverse as the
United States, a country built by free and enslaved people who entered legally and
otherwise from other countries all over the world. Though there were (and continue to
be) people who aspired to foster a homogeneous society of one sort or another (the
proverbial melting pot), the United States instead became
a mosaic that is, many individually distinct units combining to create a larger
wholeThe mosaic metaphor rejects the idea that diverse cultures can (or should)
be homogenized into a single mainstream. What had previously been seen as
fragmentation, a source of weakness, was now recognized as diversity, a source of
strength (Bonds 2006, 524).
Jazz can be understood as an expression of this American diversity, leading to
global acknowledgement of jazz as Americas (read: United States) musical contribution
to world art. Composer and pianist George Gershwin referred to jazz as an original
American achievementthe result of the energy stored up in America (Fisk 1997, 336).
Pianist and educator Dr. Billy Taylor calls jazz Americas classical music. It is an
American way of playing musicAs Americas classical music, a melting pot of music
from various musical traditions, jazz has provided a unique and continuing view of who
Americans are and what we are about (Batisti 2003, 1,7). From a unique combination of
events and widely diverse traditions emerged a myriad of musical styles that, for most of
the 20th century and now moving into the 21st, have all been referred to as jazz. Author
and professor John Szwed (1936- ) offers the following perspective regarding this
musical evolution:
The array of musics we call jazz is the result of North and South America having
inherited and gathered together many of the worlds musical resources, creating
an aggregate possibly greater than that of any part of the world. All the
31
components, methods, and styles of these musics brought to the Americas are
available to every musician or singer, and they form what critic Max Harrison has
called a matrix of elements, a matrix that has incredible persistence, allowing for
various permutations and combinations of elements over a great period of time.
This matrix is the basis of the Americas fabled hybrid or creole forms of
musicA startling variety of musical styles has formed over the last century.
American classical composers such as Charles Ives drew on the matrix, as did
thousands of pop song writers, but the imaginative combination of these elements
seems to have been more fully realized in jazz. (2000, 21-22)
During the period of the late 19th century until the 1920s, three genres of music
thrived (particularly in New Orleans) that inspired jazz music: blues, ragtime, and band
(string and brass, separately) (Gridley 2006, 48 and Shipton 2001, 29). Within these
genres, musical characteristics attributed to jazz music can be identified. Improvisation
is the spontaneous creation of music. It is recognized as a major component of jazz
music, but is not unique to jazz; it is an approach that has been integral to music-making
around the world for centuries. Though it is a spontaneous approach, in fact the resulting
music is informed by the performers experience, technical skill and knowledge of a
musical language. It is very similar to conversing using verbal or non-verbal language.
Call-and-response is self-descriptive; a musical phrase is offered, and another musical
phrase is returned. Melodic pitch bending is a technique that allows for expression
beyond defined musical scales. Blue notes are specific pitches relative to Western
European musical scales (the flat third, fifth, and seventh) that emerged from the use of
melodic pitch bending. Syncopation, a rhythmic device that puts accents in unexpected
places in order to create musical tension, is also extremely common in jazz music but not
unique to jazz. Particular harmonic approaches, instrumentation and song forms emerged
as well that became recognized as related to jazz music. These characteristics of jazz are
incorporated in Suite No. 2.
32
Compositional Analysis
Inspired by klezmer and jazz music, Suite No. 2 is a three-movement work written
for Bb clarinet, piano and bass. Drum set accompaniment is welcomed. Clarinetist Paul
Green commissioned the work for the occasion of his masters degree recital in April
2009, which focused on Jewish jazz. The first movement features klezmer melody and
variations over traditional klezmer harmony and standard jazz progressions. The second
movement is a blues-inspired doina. The final movement takes the song structure of a
standard jazz tune and incorporates a klezmer-inspired melody.
The first movement is set in theme-and-variations AA'B form in 4/4 meter,
contrasting a melancholy C mi sheberach straight-rhythmic melody with a jazz swing
melody. Unlike the tonal ambiguity in Suite No. 1, caused by the use of the V/v, the
tonic-dominant-tonic harmony is quite clear here, thus the key signature of C minor is
appropriate.
The first eight-measure theme (A) is introduced by the piano over tonicdominant-tonic harmony. Strongly featured in this melody (and throughout the entire
piece) is the mi sheberach sharp-fourth (#4), with the note aching for resolution. Here it
is echoed by the flat-ninth (b9) of the dominant (mm. 1-8) (figure 2.1).
Next page: Figure 2.1
33
The theme is repeated (A') by the clarinet, with piano accompaniment, ending on
the tritone dominant in order to lead into the eight-measure bridge theme (B). Note that
the use of the tritone substitution, or substitute dominant sevenths, is a common technique
in jazz music.
Like a secondary dominant seventh, a substitute dominant seventh chord helps to
create a key-of-the-moment by tonicizing a diatonic chord other than I. Unlike a
secondary dominant seventh chord, however, it does so by creating the
implication of a descending chromatic resolution. Therefore, by definition, a
substitute dominant seventh chord has a non-diatonic root as well as having a
diatonic target a half-step lower. (Jaffe 1996, 67)
Set in the key of C minor, Gb7 is the tritone substitution of C7, which is the V7 of iv (F).
Therefore, it is symbolized as SV7/iv (mm. 9-16) (figure 2.2).
Next page: Figure 2.2
34
The clarinet plays the theme over a tonicized ii7 V7 I7 IV7 progression in the
relative Eb major key, followed by ii7 V7 i in the original key, both common
progressions in standard jazz tunes. The bridge (B) is also played in syncopated jazz
swing rhythm (mm. 17-24), and ends on the dominant, leading back into the AA'B form
variation (figure 2.3).
Next page: Figure 2.3
35
The first eight-measure variation (A) of both melody and harmony (the
subdominant is now included with the tonic and dominant) begins with call-and-response
between piano and clarinet. The original quarter-note accompaniment is now an eighthnote ostinato with the dominant set over a tonic pedal (mm. 25-32) (figure 2.4).
Next page: Figure 2.4
36
The second variation (A'), using the same harmonic progression as the first
variation, becomes very energetic as both voices pursue sixteenth-note lines. The clarinet
plays a syncopated line while the piano offers straight ostinato lines in the left hand and
somewhat syncopated complementary ostinato lines in the right hand. An extra measure
is added with an ascending C melodic minor run culminating in the bV tritone, leading
into the bridge variation (mm. 33-41) (figure 2.5).
Next page: Figure 2.5
37
The bridge variation (B) is also more energetic with a walking bass line,
syncopated piano chords, and a rhythmically quicker melodic variation by the clarinet, all
coming together in a descending unison dominant-tonic line (mm. 42-49) (figure 2.6).
Next page: Figure 2.6
38
An opportunity for improvisation is provided over the entire AA'B form (mm. 5070; see Appendix, pages 86-87), using the chordal harmonies of the variations, in jazz
swing style. The first A section (mm. 50-57) can be repeated for solos as desired. For
the last round, the clarinet continues to the second A section (mm. 58-65) for soloing,
then moves into the bridge (B) section (mm. 66-70). A half cadence in measure 70 leads
into the written coda, first descending from the IV to the fermata on the tritone dominant,
then continuing a ritard harmonic descent supporting a sweeping ascending clarinet line
before concluding on the relative major tonic, with a Lydian recall of the measure 1
motive (mm. 71-75) (figure 2.7).
39
Figure 2.7
40
rests for a moment on a surprising natural VII before resolving into a modulating ii7(b5)
V7 cadence to Bb minor (mm. 80-83) (figure 2.8).
Figure 2.8
The next eight measures (mm. 84-91) are loosely inspired by the previous A
section. The first four notes from the measures 76-77 motive are referenced in measures
84-85 by the clarinet over another variation of the four-chord progression (i VI7(b5)
b
offered by the piano over the repeated progression in quarter-note pulse (mm. 86-87).
The clarinet offers another variation over the progression, played in syncopated fashion
by the piano (mm. 88-89). The response from the piano is an unexpected resolution to
the major tritone bV with an ascending Lydian augmented scalar run, joined harmonically
by the clarinet (mm. 90-91) (figure 2.9).
Next page: Figure 2.9
41
The B section (mm. 92-99) starts off with the clarinet offering a line over a twomeasure syncopated ii7(b5) V7(#9) i9 VI(#5#9) progression, and continues the line over
a repeat of the progression (with the i9 changed to a i9), which pauses on the I9(#5) (mm.
92-95). The last four measures are coda-like, beginning with syncopated stops in
measure 96, followed by a harmonic leap from the III to the bVI accompanied by a
climactic motivic unison, concluding with melodic and harmonic descent to the dominant
(mm. 97-99) (figure 2.10).
Next page: Figure 2.10
43
The final movement is based on the harmonic progression of the (George and Ira)
Gershwin tune I Got Rhythm. It is standard practice in jazz to improvise over chord
changes of popular tunes. I Got Rhythm is one of the most popular tunes for such
performance; in fact, all jazz musicians are expected to be able to play it, along with
some of the alternative melodies that have been written for it. As this piece was written
for Mr. Greens masters degree in jazz studies recital, this movement provided an
opportunity for him to demonstrate his Rhythm Changes proficiency. It is set in Bb,
4/4 meter, in AABA form of 28 measures. Continuing to draw from the mi sherberach
mode, the theme emphasizes the sharp-four (#4)/flat-five (b5) tone. The rhythm is a
mixture of straight eighth- and swing sixteenth-notes.
44
When present, solo drums set up the eighth-note straight rhythm over two
measures (mm. 122-123; see Appendix, page 92). The eight-measure syncopated theme
(A) is played by clarinet, piano and bass in unison (mm. 124-131; see Appendix, page
92). In the repeat of the A theme (mm. 132-139), the accompaniment is varied. The
clarinet replays the melody, and piano and bass offer harmonic support. Note the phrase
initially incorporates the measure 1 motive (m. 132). With the accompaniment, it can be
observed that flat-fives (b5) occur in the melody on the downbeat of the first three chords,
and the piano harmony of the fourth chord (figure 2.12).
Figure 2.12
45
The B section (mm. 140-143) takes the approach often used in jazz performance of being
an improvised section; however, it is set up as a four-measure section rather than an
eight-measure section (figure 2.13).
Figure 2.13
Another piano and bass variation is offered for the last A section (mm. 144-151), as the
piano plays a secondary melody against the original phrase played by the clarinet (figure
2.14).
Next page: Figure 2.14
46
Solos are performed through the improvisation section (mm. 152-179; see
Appendix, pages 94-95). If desired, this section may be played in cut time (twice as fast).
The last solo observes the coda sign at the end of the B section (m. 171) and proceeds to
the coda, a variation of the A section (mm. 180 190). The swing rhythm continues, the
clarinet plays the theme, the piano and bass increase their rhythmic pulse until the
interrupted cadence in measure 187 sets up an unexpected modulation to a Db major
conclusion (figure 2.15).
Next page: Figure 2.15
47
48
CHAPTER III
SUITE NO. 3: LCHAIM (2009)
Tango Style: Definition, History, Characteristics
Lets see if this sounds familiar: Were at the turn of the last century, and an
irrepressible new music has coalesced in a teeming port city. Its sound is
ebullient, even impertinent, but also rich and refined: an unlikely brew of flavors
extracted from Europe, from Africa (via the Caribbean), and, of course, from an
already creolized local culture. For a while this engaging hybrid is largely
consigned to the milieu of brothels. But with the help of some charismatic
mavericks it evolves into popular music, and then concert music. More than a
hundred years after its inception, it endures as an adaptable language, as a symbol
of national identity, and as a living if occasionally embattled tradition. (Chinen
2007, 26)
Though the similarity to the birth of jazz in New Orleans is remarkable, the author
is describing tango, a kind of music that thrived in Buenos Aires. Like jazz, the origin of
the term tango is an arguable point. However, it was generally used to describe a
variety of dances and accompanying music in Spain and Latin American throughout the
19th century, all of which shared a duple meter (2/4), syncopated rhythmic
accompaniment (figure 3.1), and polka song form (Bhague 2010).
Figure 3.1 Tango accompaniment patterns (Bhague 2010)
and Uruguayan urban slums during the turn of the 20th century. Three general types
emerged: the instrumental tango-milonga performed by orchestras, the lyrical tangoromanza, and the highly dramatic tango-cancin. Commonly, a song would be divided
into two equal sections of 14-20 measures each; the latter section was generally set either
in the dominant or the relative minor of the established key. Performance ensembles
ranged from the early trios (violin or accordion, guitar and flute to piano, violin and
bandonen) to the establishment of the orquesta tpica (violin, flute, guitar, and
bandonen) and larger variations of it. As tango found its way to France and England in
the early 20th century, it became immensely popular for ballroom dances through the
1940s (Bhague 2010).
The paths of tango and jazz crossed when composer and bandonen player Astor
Piazzolla visited Paris in 1954 and heard, among other groups, the Gerry Mulligan Octet:
It was really wonderful to see their enthusiasm while they played: each one's
individual pleasure in the improvisation, or the excitement of the whole group
while playing a chord[it was] something that I had never seen before around
tango or tango musicians. As a result of this experience I had the idea of creating
the Octeto Buenos Aires. I felt that it was necessary to take the tango away from
that monotony in which it had been wrapping itself, harmonic as well as melodic,
rhythmic, and aesthetic. I had an irresistible desire to make it more elevated
musically, and thought that it would be also a way to feature the performers'
virtuosism[I wanted to] achieve a tango that would excite and enrapture,
without tiring the performer or the listener. It would still be tango, and it would
be, at the same time and more than anything, music. (Piazzolla)
As a result, Piazzolla took it out of the ballroom and made it appropriate for the concert
hall (Kutnowski 2002, 106) incorporating new rhythms, new harmonies, melodies,
timbres and forms (Piazzolla), yet still maintained the essence of tango.
Tango also made an impression on Jews in Buenos Aires, New York and Europe.
From 1900-1940, over a quarter-million Jewish immigrants settled in Argentina. During
50
tangos heyday during the 1930s, Jewish musicians, and violinists in particular, found
they could earn their keep by playing with tango orchestras or in nightclubs featuring
tango music (Czackis 2004, 4). Tango found its way into Yiddish theater in Buenos
Aires and New York (Czackis 2004, 4, 10). As immigrant Jews came to know tango in
Argentina and the United States, Europe also came to know tango as it took ballrooms
and cabarets in Paris, Berlin and London by storm; it also made its way to Eastern
Europe and Russia (Czackis 2004, 5). European Jewish musicians performed tango, and
European Jewish composers created new tangos. Because it was such a popular style of
music at the time, tango was included in the musical repertoire of the ghettos and
concentration camps during World War II, part of the enforced repertoire of the
Lagernkapellen [camp orchestras composed of amateur and professional performers] and
as a means of self-expression by Jewish inmates (Czackis 2004, 8). Czackis observes
that Yiddish tangos are only an episode of this [tango] chronicle, an example of the
Jews tendency to adapt to the ethos of their adoptive countries and also, more generally,
the mutual acceptance and fruitful interaction between peoples (Czackis 2004, 10-11).
Compositional Analysis
Inspired by klezmer and tango music, Suite No. 3 is a six-section work written for
two Bb clarinets, flugelhorn, French horn, piano, bandonen, violin and cello. The entire
work maintains an F minor key signature, 4/4 meter, and a quarter-note equals 64 bpm
(double time in the final section). Much of the melodic content is inspired by the F minor
harmonic scale. The conceptual setting is a Jewish religious service.
51
Section 1 (mm. 1-13), outside the sanctuary, introduces the work in free-form
cadenza-style as all voices engage in conversation over a i V i progression. The
French horn begins with a four-note call ending with the leading tone, inviting an
immediate response by the flugelhorn, followed by each clarinet and violin. The
bandonen joins in (m. 4), offering quarter-note rhythmic structure with an outline of the
tonic harmonic minor scale. The conversation settles down as the piano joins in with an
eighth-note C pedal tone, the cello provides a syncopated ostinato also outlining the tonic
scale, and the violin offers an unresolved fourth of the tonic (mm. 6-7) (figure 3.2).
Figure 3.2
The conversation becomes more fully animated as the clarinets, horns and violin all
chatter over the sixteenth-note tonic ostinato of the piano and the continued syncopated
ostinato of the cello and bandonen. The introductory movement eases into an imperfect
authentic conclusion (mm. 8-13) (figure 3.3).
52
Figure 3.3
The eight-measure phrase ends on the dominant, to introduce the A' variation (mm. 2231). The piano offers additional harmonic support while the cello provides a tonic pedal
53
through most of the phrase. The movement concludes with an extended plagal cadence
(figure 3.5).
Figure 3.5
54
In A' (mm. 43-51), the phrases and responses are increasingly embellished, with
all voices participating. In a4 (mm. 43-44), and similarly in a5 (mm. 45-46), the first
clarinet plays a i ii V i phrase variation, and the second clarinet offers phrase in
canon (resulting in a 6/4 measure), all over a tonic-leading tone trill provided by the
cello, while the rest of the voices provide a plagal response. In b2 (mm. 47-48) the piano
joins the cello in the tonic-leading tone trill during the second phrase variation over the V
i. In a6 (mm. 49-51), the last variation of the first phrase is presented by the clarinets in
unison; the rest of the ensemble offers an authentic response (figure 3.7).
Next page: Figure 3.7
55
The B section of the form (mm. 52-55) features a contrasting melody consisting
of four authentic phrases presented in call-and-response fashion. The first clarinet and
violin issue the call over the ii V, then everyone else responds over the i. The melody
concludes in authentic fashion (figure 3.8).
Next page: Figure 3.8
The B' variation (mm. 56-59) presents the four phrases in four-part canon by the clarinets
and horns. The variation and section conclude in unison fashion on the dominant, to
allow transition to the following section (figure 3.9).
Figure 3.9
57
The rest of the ensemble joins in (mm. 67-81). Over the cello and piano ostinatos and
sustained tonic of the bandonen, each voice has an opportunity to speak (violin, first
clarinet, second clarinet, French horn, flugelhorn) before joining in unison in an entirely
different ostinato. The section ends in climatic unison on the dominant, setting the stage
for the bandonen lead in the next section (figure 3.11).
58
Figure 3.11
59
60
The contrasting B phrase (mm. 90-97) offers a motive and variation over bVI7 V7b9,
concluded by an extended half cadence (iv11 III9 V7/V V7(b9)) (figure 3.13).
Figure 3.13
In second round of the form (mm. 98-113), the violin repeats the entire melody,
accompanied by the horns, bandonen, and cello; the piano joins in for the B section.
The third round of the form (mm. 114-129) provides an opportunity for improvisation
over the cello line. All voices play in the last round of the form (mm. 130-145), with
some canon and harmonization. The movement ends in harmonic unison on the
dominant for the transition to the last movement (mm. 98-145; see Appendix, pages 105109 for the second, third and fourth rounds).
The final section (mm. 146-207), freylekh, is a joyful dance, carrying over the
tango rhythm before finishing with a straight eighth-note rhythm. Like the previous
section, it is also set up in AAB form. The first A is an arch form phrase: || i | ii V | ii
V | i ||. A' offers a melodic variation over the same progression as A. An eight-measure
phrase (B) briefly moves into the relative major before returning to the tonic key. The
form is presented once followed by two variations.
The A phrase is first presented by the solo cello; the violin then plays A' as the
cello recalls the tango rhythm (mm. 146-153) (figure 3.14).
61
Figure 3.14
The second clarinet then presents the first half of the B phrase with cello and violin
accompaniment. The first clarinet then joins the second for two measures before all
voices join in a recall of measure 57 (the dominant motive that brought the third
movement to conclusion) (mm. 154-161) (figure 3.15).
Figure 3.15
During the second round of the form (mm. 162-180), the clarinets, horns, bandonen and
violin play the AA' phrases in unison with piano and cello accompaniment (mm. 162169), followed by the same instruments playing the contrasting B phrase (mm. 170-180)
in call-and-response and harmonic unison fashions. A variation comes with the recall of
62
the first movement opening French horn call (m. 176), followed by a four-measure
dominant harmonic and dynamic crescendo (figure 3.16).
Figure 3.16
63
For the last round of the form (mm. 181-194), the tango rhythm provided by the piano
and cello is transformed into a straight eighth-note pulse. A final variation of the AA'
phrases in harmonic unison is offered (mm. 181-188), followed by a six-measure
variation of B (mm. 189-194) ending on the minor tonic (figure 3.17).
Figure 3.17
64
The coda brings the work to an enthusiastic, celebratory conclusion. Onemeasure call-and-response motives are played over four measures of the dominant,
followed by a two-measure sixteenth-note ascending tonic scalar run beginning on the
fifth degree (mm. 195-201) (figure 3.18).
Next page: Figure 3.18
65
The piece concludes with variation of the first two measures of A, followed by a onemeasure unison of all voices before breaking down into two-measure individual motives,
ending on a harmonized i9 chord (mm. 202-207) (figure 3.19).
Figure 3.19
66
CONCLUSION
ADVANCING MUSICAL CONVERSATION
Music is in a continual state of becoming. (Copland 1952, 2)
Music has the power to remind us of our roots, to bring us home, to make us
comfortable. These three suites celebrate the klezmer sensibility, a quality that makes the
music feel familiar to those raised within a Jewish culture including the yearning, the
angst, the melancholy, the joy. For people who love jazz and tango, these works speak to
them as well, as recognizable musical characteristics from each genre have been woven
into the fabric of the music. That performance of these works will resonate with diverse
audiences is a profound hope for this composer. The process represented by these
compositions, however, suggests that the potential of music to transcend the limitations
of spoken language can be accessed in a powerful and transformative way by engaging in
intentional musical conversation. Physician Oliver Sacks observes in his recent book
Musicophilia that, though it is still not clear if music is hardwired ora by-product of
other powers and proclivities, music is fundamental and central in every cultureWe
humans are a musical species no less than a linguistic one (2008, xi). Suite No. 3:
LChaim moves forward from simple call-and-response phrases and begins to explore
conversational technique among instrumental voices in a composed manner; it also
provides opportunity for improvised conversation between at least two performers.
67
These three suites, celebrating an eclectic musical genre, are touchstones of a life-long
exploration of expression through music. To create conversational works allowing for
improvisational dialogue, weaving through a mosaic of musical dialects and discovering
the connections along the way is a thrilling prospect.
68
APPENDIX: SCORES
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
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117